塞浦路斯考古博物館

地點(diǎn)：塞浦路斯

建筑師：XZA 建筑事務(wù)所- Theoni Xanthi , Thodoris Androulakis,Spiros Yiotakis, Margarita Zakynthinou

合作建筑師：Y. Andreadis - YAP, Fereos 及合伙人建筑事務(wù)所

項(xiàng)目團(tuán)隊(duì)：P. Pappa, E. Orfanou, N. Keramianakis, K. Varkarolis, S.Chatzis, N. Christidi, E. Keramianaki, and S. Doukas.

獲獎(jiǎng)：國(guó)際建筑競(jìng)賽一等獎(jiǎng)

設(shè)計(jì)年份: 2017年

建筑師Theoni Xanthi獲得新塞浦路斯國(guó)際建筑競(jìng)賽一等獎(jiǎng)。此次競(jìng)賽分為兩個(gè)階段，第一階段共收到129份參賽作品，第二階段入圍7份作品。

項(xiàng)目耗資7 500萬(wàn)歐元，新的考古博物館將容納塞浦路斯考古機(jī)構(gòu)所有的重要收藏；同時(shí)，博物館作為“文化之島”——尼科西亞市的多功能文化設(shè)施，功能包括文物部辦公室、會(huì)議室、圖書館、咖啡館及餐廳、文化活動(dòng)平臺(tái)及一個(gè)達(dá)42 000平方米的開放的底層景觀平臺(tái)。

考古博物館坐落在離尼科西亞中世紀(jì)城墻不遠(yuǎn)的地方，處于城市綠地與城市中心區(qū)的中間地帶。因此，作為應(yīng)對(duì)，博物館通過城市區(qū)域關(guān)系和環(huán)境景觀設(shè)計(jì)，最終與周圍和諧統(tǒng)一，并對(duì)城市環(huán)境的改造和升級(jí)做出重要貢獻(xiàn)。

考古博物館旨在強(qiáng)調(diào)考古發(fā)現(xiàn)從挖掘到光明、從過去到現(xiàn)在的進(jìn)程。因此，垂直方向上，空間分為三層。展館的部分懸浮于最上層，稱為“記憶層”。中間的“城市層”以積極的態(tài)度向城市開放。底部的“河流層”容納各種各樣的日常活動(dòng)。同時(shí)，懸浮的展覽部分從博物館學(xué)分析，在水平上分為三個(gè)體量。博物館垂直及水平方向的劃分和塑造，最終形成滿足城市、功能、結(jié)構(gòu)及生物氣候的整體設(shè)計(jì)。

三條抬高的體量延伸了景觀視線，回應(yīng)了其所處的三角地帶及周邊地區(qū)。體量之間窄長(zhǎng)的空隙創(chuàng)造出可欣賞城

Theoni Xanthi wins the two stages international architecture competition for the New Cyprus Museum.(129 proposals on stage A – 7 proposals shortlisted on stage B).

The project of €75m aims to the construction of the new archaeological museum that will host all the outstanding collections of the Cypriot archaeology and at the same time a wider cultural facility for the city of Nicosia, “an island of culture”, including the oきces of the Department of Antiquities, Conference Hall, Library,Café and Restaurant, a platform of cultural activities and the landscaping of an extensive plot of 42 000m2.

The museum is sited in Nicosia, close to the medieval city walls, in an intermediate space between the green and urban zones of the city, thus enabling the proposal, through a broad urban and environmental design to function in a unifying way and contribute decisively to the restructuring and upgrading of the urban environment.The intention for highlighting the archeological fi nds from excavation and the past to the light and the present time, led to the emergence of the museum from the ground. This resulted in a new spatial stratigraphy,composed by three horizontal zones. The upper zone with the hovering body of the museum - The Memory layer. The intermediate zone that welcomes the city - The City Layer. The ground zone that hosts everyday functions - The River layer. At the same time, the hovering body of the exhibition is divided in three parts that arose from the museological analysis. The division and sculpture of the vertical and horizontal zones led to a holistic design that incorporated the Urban, Functional, Structural and Bioclimatic demands.

The three raised volumes follow the long sightlines of the environment and are moulded in such a way as to adapt to the triangular plot and adjacent areas. The longitudinal gaps between them create views towards the city and the river, while the bioclimatic canopy de fi nes the empty space and the entrance to the building. The raised museum becomes a bridge that allows the city to pass through, and the elaboration of ground level shapes the extended public space of the building with diあerent qualities. The public square, the entrance area,市與河流景觀的視野，同時(shí)，成為底層架空部分和建筑入口區(qū)域的生態(tài)頂棚。架空的博物館成為城市中的橋梁，允許人們穿越；地面層的布局塑造了建筑向外部延伸的公共空間。公共廣場(chǎng)、入口空間、中庭、庭院、室外展覽平臺(tái)、教育花園及河流公園，這些空間滿足了日常生活中各種活動(dòng)的需求。

永久展廳的設(shè)計(jì)用三個(gè)空間對(duì)應(yīng)三個(gè)概念，通過建筑使之實(shí)體化，每一個(gè)概念對(duì)應(yīng)一個(gè)懸浮的體量。第一個(gè)體量名為“TOPOS”——講述史前時(shí)期，聚焦塞浦路斯首批定居者與其所居住的土地及資源的關(guān)系。第二個(gè)體量名為“SEA”，突出島嶼和海洋的持續(xù)關(guān)系，即永恒并存。第三個(gè)體量名為“COSMOS”，關(guān)注歷史時(shí)期，并探索不同地中海文化之間的關(guān)系及相互融合。

流線型的展覽空間設(shè)計(jì)增強(qiáng)了博物館的敘事性。同時(shí)夾層把空間調(diào)節(jié)到人體尺度，大量小型展品整合在外墻中，因此，各式各樣的敘事型媒介讓展覽空間獲得靈活性。三個(gè)展覽空間通過透明的天橋相連，提醒著訪客現(xiàn)實(shí)城市的存在。

博物館的建設(shè)包含外墻的技術(shù)準(zhǔn)確性及參數(shù)化方法，結(jié)構(gòu)的穩(wěn)固性和可塑性，最終生成建筑的形態(tài)和藝術(shù)般的存在。

在當(dāng)今國(guó)際化的大環(huán)境下，新的考古博物館在尋求塞浦路斯文明起源的元素中表達(dá)其身份，這不僅表現(xiàn)在物質(zhì)上，更是將地中海的文化生活特點(diǎn)（例如親近自然、具有豐富的社交環(huán)境、伴有良好的景觀視線及光影等）融入在當(dāng)?shù)厝嗣衩刻斓纳钪小Ｔ谶@種層面上，項(xiàng)目的目標(biāo)是成為一個(gè)文化景觀裝置和地標(biāo)，培育新的自然環(huán)境以及更多種類的活動(dòng)，使其在城市中煥發(fā)新活力。the atrium, the yards, the platform for outdoor exhibitions, the educational garden, and the river park, create spaces that can host everyday life and multiple activities.

The architectural design of the permanent exhibition is materialized by three spatial and conceptual unities, each one corresponding on one of the elevated volumes. The first named TOPOS, narrates prehistory and focuses on the relations of the fi rst settlers of Cyprus with the land and its resources. The second named SEA, focuses on the continuous relation between the island and the sea - the timeless intermediate. The third named COSMOS, concerns the historical times, focusing on the relations and the interactions between Mediterranean cultures.

The fluidity of the exhibition spaces enriches the museological narration,while the mezzanine levels adjust the spatial sizes to the human scale. The large number of small exhibits is integrated into the building envelope and thus the exhibition space acquires fl exibility for the development of alternative and diverse narrative media. The three exhibition spaces are interconnected through transparent bridges, reminding visitor the presence of the living city.

The construction of the museum combines the technological accuracy and the parametrization of the envelope with the earthly substance of the texture and the image of the plastic artwork, a fact which fi nally de fi nes its form and aesthetic presence.

The new archaeological museum -within today’s globalized reality- seeks to express its identity through the elements that gave birth to the Cypriot civilization, not only the materials, but also the characteristics of the Mediterranean life and culture (the proximity of the natural, the meeting centers, the sightlines to the landscape, the search of dense shade etc) that are still alive in the everyday life of the locus. In this meaning, it aims to be a landmark, a cultural installation that would nurture new environments and behaviors, and act as a revitalizing gesture to the city.